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Jay Elle Singer Songwriter Musician from New York

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Jay Elle Singer Songwriter Musician from New York

Studio CarryOnHarry : Interview with New York based music artist Jay Elle , talks about his new album Ride The Wave and his journey as musician. Here he shares his set of experiences attained during his musical journey.

Tell us about yourself ? 

Hello everyone. Thank you so much for the opportunity. My name is Jay Elle. I am a singer, songwriter and guitar player based in New York City. I write guitar-driven melodic pop songs, sprinkled with hints of folk, rock, pop and Americana, among other genres, including a little bit of classical music. I use a nylon string guitar on a few cuts of my new album “Ride the Wave”. The songs are full of energy, passion and witty lyrics, containing hopeful and powerful messages. On some songs I go for more intimate voice and guitar arrangements. Others have a definite rocking feel to them. All the songs have a story behind them. I wrote about them on my website “jayellesongs.com”.

How long you been in performing arts ?

I have been singing and playing guitar for over 20 years. I started writing a few years after that. I played in bands in high school. Blues and rock. I also studied classical guitar. As I learned more about guitar playing I discovered new music and writers. Regardless of the style of music, there are writers who can create wonderful songs and I thought that it would be great if I could learn how to do that.

What was most attractive part for you to be in this industry ? 

I love a great show where the audience sings along. I’ve seen a number of bands at Madison Square Garden. Nothing like 20,000 souls singing along to a great tune. One U2 concert was phenomenal. The band came on stage and the audience stood up. Everyone. And no one sat back down until the end of the show. Bryan Adams was great too. I remember him walking to the microphone to start singing “Summer of ‘69” and then stepping back as the audience started singing from the first line of the song. He did not sing a word for half the song. He let the audience sing the song to him. You know he was having a good time. That kind of energy coming from audiences is just fantastic. That’s what playing live is all about.

Share some experiences ( good or bad ) any that made you grow in life or profession ? 

jay-elle-music-artist-interviewGreat question. I was lucky to study with some wonderful teachers. There are so many in New York City. Whether it’s vocal or guitar technique, you need to sharpen your skills as much as possible. A great teacher can really understand where you are and what you want to achieve and develop a path towards reaching your goals. More so than just practicing some scales. It’s important that teachers understand you as an artist and take the time to tailor exercises to your needs. Most recently I studied with Matthew Johnson at New York Vocal Coaching, Inc. He is excellent. As far as wisdom, I am constantly seeking to improve on all levels. Not just musically. Let’s see how that plays out one day at a time.

Who inspired you ? How do you work on creating your own signature style ? How do you analyze all this to be known as you and BE YOU ?

I listen to everything that comes my way. There are so many great musicians and songwriters out there. Some well-known of course and many talented folks I heard or had a chance to work with that have not reached the top of the charts, yet. I listened to every recording by Eric Clapton and Andres Segovia when I started playing guitar. I love the songwriting of Billy Joel, Freddy Mercury, Sting and Paul McCartney and many others. They’re great singers as well. I think Elvis is a great singer. These are obviously some of the titans of the music world. I’m enjoying listening to Niall Horan and Keith Urban. I think Pink is really good. I would not be able to pin down how each of these and others specifically influenced my work though. They all have in one way or another.

I also worked with great musicians in New York City. One of my co-writer is Margaret Dorn. She is on the Halfmoon Records and Publishing Label. Amazing writer, singer and piano player. And of course Caleb “kbc” Sherman, the producer of my new album “Ride the Wave”. Caleb did a magnificent job producing my songs. You have to listen to the album. It’s really, really good. Ideas come up almost every time I play guitar and sing.

I usually block time and focus on writing for a few weeks. I sort through these ideas and develop some of them further until I have a good pool of potential new songs. Then I narrow down the list further and lock down the melodies and lyrics. Then I record the basic tracks and select the songs that I think can make a great album or EP. I started this process again in January 2021. I was going to release an acoustic album, just my voice and one acoustic guitar.

Caleb “kbc” Sherman contacted me via Facebook. We hadn’t talked in a while. Eventually, he listened to 30 of my new songs and picked the ones that inspired him the most. We ended up with a 12 song album. Now, the focus is on promoting the album. I will still store up whatever new idea come up but I won’t block writing time for a few months. I listen to every piece of music that comes my way. I make a note of what really moves me, the type of music that gets me going. What makes me want to get up in the morning and play guitar and sing. Then I focus on that. You can’t call out what the future has in store. I do my best to get better at what I do.

What do you want to convey through your music?

Great question. I would say 3 to 4 minutes of total blissful escape every time people listen to one of my songs. I would love for listeners to get a burst of energy that transport them to a great place emotionally. I got into songwriting to recreate this exact feeling. It’s how I feel when I listen to a great song. I hope to pass this energy on to others through my songs.

Story behind making of your new track / Album? 

I would like to thank the good people at Facebook, Instagram and TikTok. Without them, my new album “Ride the Wave” would not have been written, arranged and produced. And I would like to give special thanks to Caleb “kbc” Sherman, arranger, mixer, producer and musician extraordinaire and to Paul Logus for mastering the album to perfection (http://plxmastering.com/).

The pandemic feels like one of those endless rainy days that I hated as a child. Boring!!!!! Back then, on rainy days I couldn’t go out. According to my mom, if I were to get my hair wet I would most certainly catch a cold. Apparently, everyone else’s mother thought so too. There was no one to hang around with on rainy days. At home, I was on lock down with the same old toys. No guitar then. No Internet… At least nowadays I can entertain myself with my guitar.

I go through the pandemic’s “endlesssssss rainy day” writing and recording new songs. I thought I’d release an acoustic album this year. Just my voice and my guitar. This sounded like a good plan until:

Facebook Message from Caleb “kbc” Sherman sent to Jay Elle on January 15, 2021

“Holy shit. I can’t believe it’s you! I’ve been thinking about you for all these years. Your music is awesome! I’ve been looking for you for a long time. I hope all is good with you, I’m doing good. Still music for me, I have a studio in Nashville where I live now, but I am in nyc all the time. I would love to see you and catch up. I can’t believe how long it’s been. I miss ya man!!!!”

Response from Jay Elle: “Hello Caleb. Glad you are doing well. Thank you for the kind words. Right back at you! I have visited your studio page and checked on you via Facebook now and then. Your work is brilliant. As I imagined it would be.

You always had fantastic ears, musicality and talent and a great brain as well. Congratulations on your achievements. I don’t “vacation” in the past much. Partly because I don’t have that great of a memory and also because I’m always busy with the next thing. But I have great memories of our work together. I’m doing amazing. Thank you for asking.” “By the way, what is your rate for producing a song?”

Caleb: “I have been looking forward to reconnecting with you for real. To answer your question about rates for producing tracks….if it’s your music….. I would be f*cking thrilled to work with you on your music for the same rate you charged my band ‘What’s Up’, to put up with 5 a**holes! Zero $.

I sincerely loved the tracks I heard of yours, and if you are set up to record at home, we can most definitely work remotely.”

Jay Elle: I was of course hoping that we could work on a track together. That would be a blast. Thank you for your generous offer. We can discuss it further in a few weeks. I am writing new songs. The first step would be to listen to the basic one guitar and lead vocal roughs and for you to decide if you are inspired by one of them. Then we can talk about the details. I just wrapped up writing the melodies for a bunch of them. I will be tackling the lyrics soon. Hard to tell for sure when I’ll have anything for you to listen to. But there is another reason why I asked about your studio rates. I worked with a gentleman named Michael Stover (http://www.mtsmanagementgroup.com/about/). I think he might be located in Nashville. I thought he might be a good contact for you. Michael did a great job with my last 2 releases in terms of getting reviews, etc.”

After this exchange I sent Caleb two older songs so he would have a sense of what I would provide to him: One lead vocal track and one acoustic guitar track. Within a few days, Caleb sent me this amazing arrangement and production of one of these two songs: “Twelve on Sunday”. Wow!!!! Caleb did a great job. I sent it to my best friend Philippe Blin who taught me a few chords when I first started playing guitar and has been listening to all of my songs ever since. He loved it. He is a great musician. He did not pursue a music career but has great ears.

I sent it to a couple of other people and the reaction was the same: Excellent! Eventually, Caleb arranged and produced the second song I had sent him: “Who’s Camille”. Same set up. I sent him the lead vocal track, the guitar track and he worked his magic around them. I sent these newly produced versions to a couple of radio promoters who had worked with me in the past and they were very impressed.

Radio Promoter #1: “These tracks are fantastic! Your last album was impressive, but these are a big step up in terms of songwriting and everything else, at least to my ears. I especially like ‘Twelve on Sunday’–you could have told me that was written by McCartney and I would have believed it. These would be great for AAA and Americana radio. When do you think the album will be ready?”

The second radio promoter tested the songs and “Who’s Camille” got 4 stars and “Twelve on Sunday” got 3 stars. Both these ratings mean that the songs are ready for radio. Around April 15 I finished writing 30 new songs. I asked Caleb if he was inspired by any of them. Caleb picked 10 and went to work. And the album sounds AMAZING!!!!!! About the songs: I’ve been spending quite a bit of time on social networks during the pandemic’s “endlesssssss rainy day”.

The title track on the album is “Ride the Wave”. My friend Jett Harris, with whom I recorded a few albums and countless songs, takes great pictures of surfers, among other subjects he focuses his lens on. (Instagram @jettt1209). I was inspired by these pictures. I think that much of what we do in life is ride one wave after another, as best as we can. Some waves are fun to ride, like recording a new album, and some are tough. Riding a pandemic is no picnic. But what choice do we have? I take life as it comes, and ride the wave. I take the point a little further in “Better Luck Next Time”.

As my friend Jett Harris reminded me: “Surfers are really cool interesting people and their philosophy on surfing is very similar to your analogy of waves and life. The adage “Luck is when opportunity meets preparation” is appropriate as you never know when you’re going to get the opportunity to ride that really great perfect wave, but you hope to be ready to take advantage of it. If not you’ll find sympathy in the dictionary between sh*t and syphilis.”

I also follow the Vampire Diaries lead actress Nina Dobrev. (Instagram @nina). I am a big fan. So, I wrote a song about my experience as a fan and follower: “Tequila Kiss”. I do think she is a terrific actress. If we ever meet, I would love to discuss how she prepares for a part. She is “all emotion”. And always very precise. And very entertaining, on screen and on Instagram. The other songs on the album have a lot of water and air references as Vivienne V. puts it. Vivienne has taken pictures for my website and the covers of my last few releases, including “Ride the Wave”. She is an astrology buff. She picked up on the power water and air sign I have in my chart and my preference for sunny days. “Morning Rain” shows my ever so optimistic approach to love and life, advising anyone who wants to hear it that things will get better, no matter how bad they may be. “Rainy Day” gets me dancing around my apartment every time I put it on. If there’s ever one way to pass the time through a pandemic, it’s enjoying the beautiful body of someone you love.

“Miss Mess” is a song that reflects on the strange “relationship” I developed with the TikTok algorithm while on lock down. I get served these incredibly entertaining posts by women from around the world. They are dancing, joking around, acting, shooting arrows, exploring beautiful sites, playing with their pets, venting about their boyfriends, playing pranks, flying helicopters, etc. They seem to be in total control of my life for 30 seconds or so. And there’s nothing I can do. Of course I could stop watching… But I am liking it. A lot.

There is always some “messy” elements to these posts. And some of these ladies are reckless and sometimes flawless in their recklessness. I love watching puppies. I had dogs. Cavalier King Charles. They all passed away, sadly. I wrote a song titled “Angeling™” in their memory. But TikTok doesn’t serve me a continuous stream of videos full of doggies for some reason. Just them ladies… Some of these ladies are pretty intense. You’ve got to see the gymnasts. Wow! And the military ladies. Intense. Some great actresses lip-synching to movies and TV shows dialogs. Very funny ones too. I don’t always understand the thrill of some of the stunts, like jumping from the roof of your house into your pool. But, to each her own. After all if there isn’t a “tsunami” hitting your shores, you may as well create one. Make a TikTok. The algorithm is working so well. So much so that it inspired another two songs: “She’s So Fine” and “Insane”.

I touch on a few other subjects in this album: “Angeling™” is a tribute to my departed puppies. What a life dogs live. Lots of time spent sleeping, but definitely acting like angels when awake… The song is also about lying down at night with the one you love. In “Want Me Bad” I tried to make the case that a relationship is a two way street. If you want someone to “want you bad” you should want them bad as well, as in “badly wanting”. Not just want them to be bad on occasion, or all the time, whatever floats your boat. As in “entertain me, be bad…” You get the gist of it. “Who’s Camille” reflects on the twists, the turns and the “fluidity” of love. “Twelve on Sunday” is about the daughter I don’t have, wondering what a father would feel like if his twelve year old ran away.

Any interesting trivia about making of song ? Hint : Brainstorming Idea / Recording hurdles / Sorting our any creative differences with your team etc

I write the melodies, lyrics and structures on my own. I write lyrics for other artists occasionally. It can take a while to complete some songs and others come up very quickly. It’s not consistent. A few notes usually peak my curiosity and won’t leave me alone until a full song is completed but I can go through a hundred ideas before something grabs me. Then it’s a tedious process of bringing everything together. It’s a process of weaving notes and words that complement each other. It’s great when it comes together but not all finished songs survive. Some of them just don’t quite make it even though I record a version with just the lead vocal and one guitar. Only a few of these get to the next step. That is a full blown arrangement with a band and finally getting recorded for an album or EP.

People who you would like to thank ? Hint : Critics / Supporters who brought best in you and today you want them to thank about your growth

First and foremost all the people who have taken the time to listen to my music. I am so grateful for their patience. Time is precious. Some have been generous to the point of sending me comments and helping out sorting through my ideas. It’s fantastic. I’d like to thank Caleb “kbc” Sherman who did an amazing job producing my latest album “Ride the Wave”. Caleb “kbc” Sherman is one of these musical geniuses. His arrangements are just mind blowing. He totally gets the feel for the songs. He plays many instruments really well. As a producer, he blends both musicality and recording techniques. It was a wonderful experience to listen to the songs after he produced them.

People who you would like to work with and people you idolize to be like professionally ?

I would love to write songs with artists that I think are amazing. There are so many too. I am really into Niall Horan’s work. I think Dua Lipa is great. Keith Urban, Maroon 5, Billy Idol, Christina Aguilera, Pink. The list goes on and on really.

Where do you see your music 3 years from now ? Hints : Your Dreams / Inputs that you are gonna put in to reach there.

I hope more and more people get to hear my songs. I’d like to bring big crowds together some day and have all of us sing along for an hour or so. That would be fantastic.

How would you like to stretch your boundaries of genre in future projects ?

I look forward to incorporating various styles into my songwriting. I have a song with a Latin feel on my new album. It’s called “Tequila Kiss”. It’s about Ms. Nina Dobrev. The wonderful lead actress from the “Vampire Diaries”. I have a song that is based on a waltz beat, “Want Me Bad”. I like to explore musical genres and bring things together in one cool song. The first single from the album is “Miss Mess”. It has a great groove and it’s full of clever parts, thanks to Caleb. It’s a lot of fun.

Message for Fans and listeners. 

Thank you. Thank you. Thank you and stay safe. I need you. Stay positive and look forward to the future. Take good care of yourselves.

Website Link

Home

Facebook Handle

https://www.facebook.com/jayelle2222

Twitter Handle

Instagram Handle

https://www.instagram.com/jayelle2222/

Spotify Handle

https://open.spotify.com/user/22t5z4olcv72dlohnnt5ymd3a

 

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Interviews

Long Beach Actor Ray Buffer Plays Villain in Sci-Fi Western Short at New Local Film Festival

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Long Beach Actor Ray Buffer Plays Villain in Sci-Fi Western Short at New Local Film Festival

Long Beach character actor Ray Buffer takes on a villain role in "The Lord of All Future Space and Time," a sci-fi western short screening as part of the inaugural Long Beach Film Festival, according to the announcement.

The festival marks the first edition of a new event on the city’s cultural calendar, running August 28 and 29 at the historic Art Theatre in Long Beach’s Retro Row district, according to festival promotion. The short screens Saturday, August 29, at noon, according to the announcement and other festival listings.

Buffer is a Long Beach-based character actor whose work spans decades, with a resume that includes western villains, mobsters and more nuanced parts in historical docudramas, according to background material on his career. He’s described as known for a commanding presence and a deep voice, traits that line up with the villain role he plays in this short. His social media has also referenced involvement in a separate sci-fi animated short tied to the festival’s opening, though it’s not clear from available material whether that refers to the same project or a different one screening the same weekend.

No director, cast list beyond Buffer, or plot synopsis for "The Lord of All Future Space and Time" was included in the announcement. Ticket and program details for the full festival lineup were not specified in the material provided.

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Tagore Almeida discusses the deeply personal journey behind SALIGIA

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Tagore Almeida discusses the deeply personal journey behind SALIGIA

SALIGIA: Tagore Almeida on the Seven Deadly Sins, the Virtues Within Us, and the War We Fight Inside

In conversation with Studio CarryOnHarry, author Tagore Almeida discusses the deeply personal journey behind SALIGIA, a mythological fantasy that turns an ancient framework of vice into an exploration of courage, compassion, humility, integrity, forgiveness, reverence and love.

'SALIGIA' Inverts the Seven Deadly Sins: New Book Explores Virtues Through Mythological FantasyFor centuries, the seven deadly sins have provided a vocabulary for examining human weakness. Pride, envy, anger, greed, lust, excess and apathy have appeared across religious teaching, philosophy and culture in different forms.

But what happens when we stop asking only what is wrong with us—and begin asking what already exists within us to confront those weaknesses?

That question sits at the heart of SALIGIA.

Drawing upon an ancient Latin mnemonic traditionally associated with the seven deadly sins, author and filmmaker Tagore Almeida turns the familiar structure on its head. Instead of building his story solely around human failings, he constructs a symbolic world around seven countervailing virtues: courage, compassion, humility, integrity, forgiveness, reverence and love.

For Almeida, the idea is also deeply personal. Born Catholic in Goa before life took him through Britain, the Middle East and Asia, his encounters with different cultures, beliefs and people gradually led him to question whether the behaviours traditionally described as “sins” belong to any one religion at all—or simply to humanity.

In this conversation with Studio CarryOnHarry, Almeida talks about the origins of SALIGIA, why a house became central to its mythology, how the external and internal battles of the story intersect, and why he ultimately came to believe that virtue may be less about becoming someone new than remembering something already within us.

Studio CarryOnHarry: SALIGIA takes its title from a Latin mnemonic traditionally associated with the seven deadly sins, yet your novel uses that framework to explore virtue. What drew you personally to this piece of theological history?

Tagore Almeida: What fascinated me about SALIGIA was never really the religious label attached to it. It was the humanity hiding underneath.

Harry, I was born Catholic in Goa, so the idea of the seven deadly sins was part of the landscape I grew up with. Over time, I became disillusioned with certain aspects of organised religion, but Catholicism remained part of my cultural and emotional foundation. So SALIGIA was familiar territory.

Then life took me elsewhere—Britain, the Middle East, Asia—and I found myself genuinely connecting with people of many different faiths, and with people of no faith at all.

I became curious. Were these so-called “deadly sins” uniquely Christian ideas, or were they simply human behaviours that religions had given different names to?

The more I looked, the more I realised that pride, envy, anger, greed, lust, excess and apathy appear in one form or another almost everywhere—sometimes through religion, sometimes through philosophy, and sometimes simply through culture and family. Apparently, humanity has been remarkably consistent in its weaknesses.

But eventually a more interesting question occurred to me. Instead of continually asking, “What is wrong with us?” I began wondering, “What already exists within us that can confront what is wrong?”

That changed the book completely.

I have always been fascinated by the invisible parts of human beings—compassion, courage, kindness. Whether I am writing fiction, making a film, recording a podcast or attempting poetry, I seem to arrive, rather annoyingly, at the same question:

Who are we when nobody is watching?

SALIGIA gave me an ancient framework within which to explore that. The sins gave me the architecture. The virtues gave me a reason to walk inside.

Studio CarryOnHarry: That architecture becomes quite literal in the book: an ancestral dwelling with rooms representing courage, compassion, humility, integrity, forgiveness, reverence and love. Why did a house become the setting for this inversion?

Tagore Almeida: A house felt natural because a house is never just architecture. It holds memory. It holds the things we proudly display in the sitting room and the things we quietly push into cupboards and hope nobody ever opens.

Human beings are rather like that. We all have rooms we happily invite people into, and other rooms we avoid ourselves.

When I began shaping SALIGIA, I also made a conscious decision not to fill the story with identifiable human characters. The moment you give someone a face, name, nationality or religion, readers naturally begin placing them into categories.

I wanted to remove those distractions as much as possible. I wanted the reader to encounter the ideas before encountering identity. So the house became the character.

Once that happened, the inversion became quite natural. Instead of seven compartments representing human failure, I imagined seven spaces representing what might stand against those failures: courage, compassion, humility, integrity, forgiveness, reverence and love.

The house also allowed me to explore virtue without turning the book into a seventy-five-page sermon. Nobody really wants that. I certainly wouldn’t.

I wanted readers to move through something rather than simply be told something—to open doors, enter rooms and discover what has been forgotten, neglected, protected or perhaps left waiting quietly in the dark.

In many ways, the house became a metaphor for the self.

We spend an extraordinary amount of our lives searching outside ourselves for answers—in success, possessions, religion, status, technology, relationships, recognition and approval.

We keep renovating the outside of the house.

SALIGIA quietly asks a different question: What if some of the rooms we have spent our whole lives searching for were already inside us?

Perhaps courage, compassion, humility and love are not things we need to acquire. Perhaps they are rooms we simply need to reopen.

Studio CarryOnHarry: That leads to one of the book’s central ideas—that these virtues may already exist within us. Why was that important to you?

Tagore Almeida: Because I am simply not convinced that human beings arrive as empty vessels waiting to be filled with goodness. Harry, I think we already arrive with quite a lot of it.

Look at children. Before the world starts handing them labels, they share, care and comfort one another. They are curious about animals, fascinated by nature and capable of affection without first asking what religion, race, nationality or social class somebody belongs to.

That, to me, is humanity in a fairly pure form. Then life begins adding layers.

Religion, race, politics, family, community, fear, ambition, prejudice, success—all of these begin shaping us, sometimes obviously and sometimes so quietly that we barely notice.

Watch a child comfort another child who is crying. There is no philosophy involved. No scripture. No management seminar on empathy. Something instinctive simply responds.

Perhaps life then complicates us. We accumulate ambition, fear, disappointment, comparison, possessions, prejudice, success and, if we are especially fortunate, an impressive job title to put on LinkedIn.

Somewhere along the way, we become very sophisticated at forgetting very simple things.

SALIGIA was never intended to say, “Here are seven virtues you need to acquire.” That sounded suspiciously like homework.

Instead, the book asks something gentler, but perhaps more uncomfortable:

What if you already possess them?

And if courage, compassion, humility, integrity, forgiveness, reverence and love are already somewhere within us, the real question is no longer how we acquire them.

The question becomes why, sometimes, we choose not to use them.

Studio CarryOnHarry: The subtitle draws a distinction between an external evil and an internal war. How do those two journeys intersect for Salem and Medea?

Tagore Almeida: The external journey gives the story movement. The internal journey gives it meaning.

Think of something ordinary. You hear that someone you know has spoken badly about you behind your back. That moment happens outside you. The person may move on with their day, forget about it entirely and go on to lunch.

But the hurt stays with you.

You replay it. You question the relationship. You feel anger, disappointment, perhaps even the temptation to retaliate.

The act happened outside. The battle began within.

That is very much the tension at the heart of SALIGIA.

Salem and Medea move through a world where danger appears to exist around them, so naturally they respond to what they can see. That is how most of us live. We identify the problem as the difficult person, unfair circumstance, hostile environment, institution, stranger or enemy.

Sometimes we are absolutely right. There is real cruelty, injustice and darkness in the world.

But what happens outside us also has a way of revealing what exists inside us.

Fear reveals courage. Cruelty tests compassion. Power tests humility. Betrayal tests forgiveness. Temptation tests integrity.

Once you begin looking at life that way, the outward journey and inward journey start reflecting one another.

That is really where the subtitle came from:

The evil is outside. The war is within.

We cannot control every act of cruelty, betrayal, injustice or temptation that enters our lives. But we do have some responsibility for what those experiences turn us into.

For me, that is a far more interesting battle than simply defeating a villain.

Studio CarryOnHarry: SALIGIA brings mythology, spirituality, philosophy and fantasy together. How did you prevent those elements from competing with one another?

Tagore Almeida: Very slowly.

SALIGIA first began forming in my mind sometime in the early 2010s, so it lived with me for many years before becoming a finished book. Perhaps that helped.

I never wanted to force it into existence simply because writers are apparently expected to finish things on schedule. Life, rather inconsiderately, kept happening.

I made films, went to Cannes, changed countries, built a career, raised a family, wrote other things, recorded conversations and experimented with music—and somewhere in the background, SALIGIA kept waiting.

Moving between different creative forms taught me quite a lot about how to write it.

Film teaches you that sometimes an image should do the talking. Music teaches you that silence is also part of the composition. Podcasting teaches you that people often become most interesting when you stop trying to make them sound interesting.

And writing, I discovered, requires the discipline to know when to explain and when simply to leave the door open.

Whenever the philosophy became too loud, I returned to the story. Whenever the fantasy began feeling merely decorative, I asked myself what that scene was actually saying about being human. And whenever the spiritual dimension sounded too certain, I deliberately returned to questions.

I am far more comfortable with spirituality that invites reflection than spirituality that claims to have completed the examination and obtained all the answers.

I did not want mythology to become a costume for philosophy, and I did not want philosophy to interrupt the adventure.

Ideally, one had to quietly carry the other.

The mythology builds the world. The story takes you through it. And the questions, hopefully, are what remain with you after the final page.

Studio CarryOnHarry: Spending years writing about seven vices and their opposing virtues must inevitably turn some of that examination back on the writer. Did SALIGIA change you?

Tagore Almeida: Absolutely.

Rather inconveniently, the reflection revealed how wonderfully unfinished I still am.

The danger of writing about virtue is that, at some point, the manuscript starts interviewing the author.

You write about humility, and suddenly your own ego clears its throat. You write about forgiveness, and a few names from the past appear uninvited. You write about compassion, and you have to ask whether your compassion really extends to everyone—or only to people who behave in ways you approve of.

That was probably the most personal part of writing SALIGIA. I began with ideas about vice and virtue, but eventually those ideas became mirrors.

Courage changed for me quite significantly.

We often imagine courage as something grand and cinematic—standing against armies, confronting monsters, making enormous sacrifices.

But I have come to think that some of the bravest things we do are much quieter.

Sometimes courage is admitting you were wrong. Sometimes it is apologising first. Sometimes it is asking for help. Sometimes it is refusing to become bitter.

And sometimes it is continuing to be kind when life has given you perfectly reasonable evidence that kindness may not always offer the best return on investment. That last one is particularly challenging.

But I should make one thing very clear: SALIGIA did not leave me believing that I had somehow mastered courage, humility, compassion, forgiveness or any of the virtues in the book.

Quite the opposite.

It made me realise that virtue is not something we achieve, frame and hang on the wall.

It is something we choose. Again and again.

Some days we choose rather well. Other days, spectacularly badly.

Perhaps that is part of being human. We are all works in progress, occasionally pretending to be finished products.

And tomorrow gives us another chance to do a little better.

Studio CarryOnHarry: When readers reach the final page, what do you hope they carry away from SALIGIA?

Tagore Almeida: I hope it feels quiet.

Not triumphant. Not like someone has just handed the reader seven rules for becoming a better human being.

I would much rather they close the final page, sit for a moment, and recognise something familiar inside themselves.

Maybe they remember a time when they were courageous without ever calling it courage.

Perhaps they forgave someone when anger would have been easier. Perhaps they helped a stranger and never told anyone. Perhaps they remained kind after life had given them every reason not to be.

That kind of recognition matters to me because we live in a world constantly telling us that we are incomplete.

We need more success. More money. More followers. More knowledge. More possessions. More certainty.

Apparently, somewhere out there is the final missing piece that will make us whole.

SALIGIA quietly suggests something almost unfashionable:

What if something valuable is already there?

What if, beneath the ambition, disappointment, fear, labels, noise and everything else life has placed around us, there is still a decent human being trying to remember the way home?

I do not want a reader to finish SALIGIA thinking, “Now I understand virtue.”

I would much rather they think:

“I remember that part of myself.”

Perhaps even:

“I still have that within me.”

If one reader reaches that moment, then the book has done what I hoped it would do.

Not teach them how to become good.

Simply remind them that some goodness was there all along.


Closing Note

There is an interesting contradiction at the centre of SALIGIA. Its vocabulary begins with sin, but its destination is not condemnation. It is remembrance.

Across this conversation, Tagore Almeida repeatedly returns to the idea that the most important human qualities may not be trophies to be earned or lessons to be imposed from outside. Courage can appear in an apology. Compassion can exist without doctrine. Forgiveness can happen without an audience. Integrity can be tested in moments nobody else will ever see.

Perhaps that is why the image of the house is so effective.

We spend much of our lives, as Almeida puts it, “renovating the outside”—pursuing achievement, recognition, certainty and approval. SALIGIA turns the reader towards the rooms within.

And its question is ultimately simpler than its mythology:

What if becoming better is sometimes less about finding something new—and more about remembering what we already carry?

Studio CarryOnHarry

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